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MATT LANDRY & THE DRYLAND BANDWITH THE UNIQUE BLEND OF INSTRUMENTS, AND LANDRY’S DISTINCTIVE VOCALS, IT IS NO SURPRISE THAT THE DRYLAND BAND IS ON IT’S WAY TO THE TOP.

VOLUME 2 // ISSUE 1 // MAY 2011

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Sherree Elm

EDITOR IN CHIEFSherree Elm

ASSISTING EDITORKristen Wagner

CREATIVE DIRECTOR Carrie Mayhew

PHOTOGRAPHYLarissa MackNicole AshleyDaniel Wood

WEBCam Linke

CONTRIBUTORS:

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B U S I N E S S

06 // Making it Big behind the Scene: Colin Kobza

08 // Local Brew

N O W

10 // Surviving as a Musician in Edmonton

A W A R N E S S

12 // Keyboards for Kids

N E T W O R K S

14 // Social Media for the Musician

M U S I C

16 // The Dryland Band

20 // Yes Nice

24 // Oddball Productions:

Rock Star 101

26 // Jon Backett...

Axe Productions:

28 // Long Way Down

30 // Holden Daniels

32 // Sounds of Success

R E V I E W

34 // Culina

36 // Live Music Venues

E V E N T S

41 // Utopia Music Festival

42 // Sounds of Spring

43 // Festival Showcases the

versitlity of Jazz

44 // Rock the Square

46 // Event Calendar

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C O N T E N T

A life in music is something many people aspire to: to

have sold-out crowds in attendance, to make money

off your passion and ultimately, to love what you do.

This type of lifestyle seems an unlikely future for a non-musician.

But for Colin Kobza, a lack of musical skill is a detail that doesn’t

really matter.

Kobza, president of Boonstock Productions and founder of the

Boonstock Music Festival, was able to make a full-time career in

music without being a musician.

He was a hockey player and music was simply something he

listened to and caught at the odd show. But now, it is a full-time

gig that keeps him busier than ever.

“I guess the first Boonstock was in 2005, but I did have a really

big barn party in my dad’s barn,” says Kobza. “I loved throwing

parties and that party was a success.”

“We had cars lined up down to the highway and my dad didn’t

understand what was going on. He was like, ‘You know what’s

going on? This is a bigger party than you said it would be,’”

Kobza laughs.

That party, the predecessor of the Boonstock we know today,

featured just three local bands. The crowd topped out at around

160 people, which was a raging success for a relatively small-

scale barn party with a stage made of hay bales.

“I did not think it was going to continue. We did it the first year

and I was like, ‘Well, it was kind of fun,’” says Kobza.

Since then, the fun has grown and the festival has blossomed

into a massive attraction, bringing in top-charting bands to play

for thousands of festival attendees.

Boonstock is currently gearing up for its sixth consecutive year-

a year Kobza believes will be better than ever before, featuring

a solid line-up of rock acts as well as electronic superstars like

Steve Aoki and Edmonton’s Shout Out Out Out Out.

The 31-year-old entrepreneur that never anticipated a future in

music is now focused on making Boonstock the largest music

festival in western Canada.

But before the event could blossom into the success it is today,

there were some hurdles to overcome.

The event, held in Gibbons, AB, falls under the jurisdiction of

Sturgeon County and since nothing like this had ever happened

in the county, the quest to obtain the appropriate permits and

licenses was a “learning curve” for both Kobza and council.

Despite the potential shutdown of the event, Sturgeon County

pulled through. Kobza adds, “They believed in the event and

they believed that we were hosting the event properly.”

“It’s been really good, but it’s been hard,” says Kobza.“ Just like

any business, you have growing pains and you have a dream

and you have a vision. And you know, there have been a couple

tough years where . . . it got a little bit challenging to keep the

event going,” he adds.

Overcoming the challenges may not have been easy, but the

hard work has sure paid off for Kobza. With the success of

Boonstock, other ventures in the music business have presented

themselves. But he is hesitant to move beyond what he knows.

“JUST LIKE ANY BUSINESS, YOU HAVE GROWING PAINS AND YOU HAVE A DREAM AND YOU HAVE A VISION.”

“I’ve had a couple bands ask if I’d like to manage or promote

them as well, but it’s really, really tough to break [out],” said

Kobza. “I’m really blessed to have Boonstock break like this.”

With the dedication of a select few people and the hands of

close to 300 generous volunteers, Boonstock has stumbled into

success, growing in popularity each year.

“I can take credit for the idea, but I can’t take all the credit for

putting on the festival. There are so many people that come

together” to make Boonstock a success, said Kobza.

“It’s pretty amazing how people can be,” he added, regarding

the hard work of volunteers throughout the three-day festival.

Although he is happy with the way things have turned out,

Kobza isn’t stopping there. He is currently in the midst of putting

together another company with his fiancée.

“We’re just putting together another company, just for something

else to fall back on,” said Kobza. “We believe that Boonstock is

going to last for a long time if we put our time and efforts to keep

it exciting.”

Perhaps this time and effort will help him reach the goal of

becoming the largest festival as well as perhaps one day having

The Tragically Hip or The Rolling Stones dance across the

Boonstock stage.

MAKING IT BIG BEHIND THE SCENE: COLIN KOBZASTORY: MEGAN SARRAZINPHOTO: DANIEL WOOD

BU S I N E S S

6 7

9

Instead I find Scott Harris. He is average height and looks

trim in a green dress shirt with tan slacks. He surprises

me even more by telling me he used to be a ballet dancer,

the first soloist at the national theatre in Munich, Germany. He

made the unlikely career transition to brewmaster almost by

chance. “As my [ballet] career came to an end, I was looking

for something to do. Having a beer at the time, and I looked at

it and thought, why not?”

He trained at Doemen’s Academy in Germany, where he learned

about the brewing trade. “After that I was working at a number

of breweries around Germany, and eventually I was picked up by

the royal family of Bavaria to brew in their brewery,” Harris says. “I

learned so much from the old masters…it was the time of my life.”

Although he has traveled through most of Europe, Harris is

originally from Edmonton, and he had always wanted to build a

brewery in Alberta. “I at first thought [I would build] in the Banff/

Canmore area but I ran into trouble with the investors. So I went

out to Toronto to work for the Steam Whistle Brewery and I

came back one time [to Edmonton] for a holiday and I walked by

this building and saw that the equipment was still here…I found

the owner and phoned him up and said look, I can’t afford to

buy this thing but I can certainly set it up and get it running for

you.” The name of the brewery is a nod to the former brewing

company Edmonton Brewing and Malting—they created a beer

that was named Yellowhead.

“I THINK THE BEER REALLY SPEAKS FOR ITSELF. PEOPLE TRY THE BEER AND THEY LIKE IT.”

Harris seems comfortable in the business of the Alberta beer

market. Although many people say the Alberta brew business

is tough to break into, Harris says having a good plan and

experience in the field are both key. As for sales,“We seem to be

doing quite well. I think the beer really speaks for itself. People

try the beer and they like it,” says Harris.

What many people who get into the beer making industry lack is

experience, but Harris feels pretty confident that his background

has given him a step-up. “Being around the block a lot I could see

what worked and what didn’t work. The keg contract is where

you have to focus your efforts in the beginning. It’s easier to put

the beer into a keg than a bottle.” Harris also sells his beer in local

restaurants, including the Culinas and the Blue Plate Diner.

The Yellowhead Brewery sits resplendently in its downtown

headquarters, in the historic H.V Shaw building. Originally a

cigar stand, the building was renovated by Edmonton architect

Gene Dub, and it became the Maverick Brewing Company

from 2007-2009.

The renovation created a building that is a mixture of historic and

contemporary. On the south façade the historic signage is still

visible, and large glass windows allow you to look in onto large

stainless steel cylinders, the lager tanks. The windows also give

employees a good view of passers-by: “Sometimes a couple will

walk by and the woman will have to pull the guy away from the

window,” says one employee.

The Yellowhead Brewery also has a feature that most micro-

breweries don’t—a beautifully decorated special events room

complete with a stage and exposed brick walls. “I think it is a

great addition to the brewery,” says Harris, “and [the space] is a

great addition to the community as well. We like to do charitable

work, fundraisers, and of course private parties.”

I can’t resist asking for a tour of the facility—they gladly give

tours, and you can walk in or call ahead if you would like to look

around yourself. Harris takes me through the basement, where

the malt grains are currently stored. There are two types of

malt and I crunch on them while Harris explains the beer making

process, and leads me around the brewery equipment.

I’m a novice when it comes to beer, but he is very patient when

explaining the process. The most memorable information I carry

out of the brewery was the knowledge that it takes three sips to

properly assess a new beer. My first three sips of the Yellowhead

Lager introduce me to a beer that is creamy with a definite hint

of hops. Seasoned beer drinkers will appreciate the naturally

carbonated beverage, as it goes down easier than the artificially

carbonated brews of the larger companies.

Currently Yellowhead makes only one type of brew, but they

are planning on expanding their repertoire in the future. What

Yellowhead may lack in selection, it makes up for with the

care and skill with which each bottle is crafted. At Yellowhead

Brewery, the secret ingredient might just be love.

CRAFTING THE

PERFECT LOCAL BREWSTORY: DANIELLE PARADIS

PHOTO: LARISSA MACK

WHEN I WENT TO MEET THE BREWMASTER OF YELLOWHEAD

BREWERY, I WAS EXPECTING TO FIND WHAT FIT MY IDEA OF

A STEREOTYPICAL BREWMASTER—A MAN WITH A BIG RED,

RUDDY FACE AND, OF COURSE, A BEER BELLY.

8

10 11

While the Edmonton music scene is far away from the glitz and glamour of large scale production that draws many people to places like Vancouver or Toronto, the Festival City has a thriving arts community and is a well established incubator for new musicians.There is enough local interest in live music to make the dream of paying the bills by making music a reality.

A musician’s life in Edmonton can be very fulfilling. There is a lot

of interest in local and indie bands and there are radio stations,

both independent and commercial, that are working with the

local music scene to get the music out there.

To gain perspective on what it’s like to be a musician living in

the Festival City, I talked to local musicians Carol-Lynne Quinn,

Jenesse Graling and Brittany Graling.

Quinn is the vocalist for the local soul/rock band Rend, and for

the cover band Oil City Sound Machine. She also holds a day

job at her old alma mater, Grant MacEwan University, where she

spends her days in one-on-one lessons through MacEwan’s

outreach program. She spends her nights gigging with her two

bands. “[Oil City Sound Machine] did the Grey Cup, the Indy,

and a lot of corporate events. My original band [Rend] is fairly

new….about a year old,” she says. She also writes lyrics and

composes music for Rend.

Sisters Jenesse and Brittany Graling are the co-frontwomen of

the local indie band Sister Gray. Sister Gray is about two years old

and has already experienced some big successes. They were the

Sonic Band of the Month in February, and they gig almost every

weekend. The band is also working on its second album.

Between them, Jenesse and Brittany have over twenty years of

performing experience. The sisters have been making music as

a duet for about twelve years. As children they tried everything

from classical to country to rock. They formed Sister Gray through

connections made during their time in the music program at

Grant MacEwan. Their bandmates—Kurtis Schultz (drums), Ajay

Paterson (bass) and Mike Morrisseau (guitar) are friends as well as

co-workers. “We all spend a lot of time together,” says Brittany.

The two ladies also teach music as a day job. “I want to always

work with music,” says Jenesse. “For me, it makes sense

because I have put so much time into my craft. It’s like a doctor

going to med school.”

It’s helpful to have a career in the music business as a job that

pays the bills because they have found that the parents of

their pupils are very understanding when it comes to having to

reschedual students for the lessons missed while the girls are

gigging or on tour. “I’ve actually had parents say, ‘Look, I saw you

in the newspaper,’ and they’ll bring me a clipping,” says Brittany

with a laugh. “They are always really great.” Of course, the sisters

would still like to one day be able to make Sister Gray their official

money maker.

Neither the Gralings nor Quinn is living the life of the tortured,

starving musician. Quinn also loves teaching vocals—“Everything

I do is music,” she says with a laugh. While Quinn loves teaching,

performing is her passion. “Because I’m the writer I get to say

things with my message. It’s not just ‘Oh baby, baby,’ you know?”

She strives for substance in her music, “I want those kids out

there to know that times get hard. But there’s still love out there

and it’s going to get better.”

Her long-term goals for Rend are well-thought-out and realistic.

“We are releasing a CD this year, and I’d like to one day sustain

a living. I don’t want to be the next Lady Gaga,” says Quinn.

A part of the reason why becoming a musician in Edmonton is

a more viable option now than it was in the past is because it’s

easier than ever before to distribute your music. “Back in the day

you would have to spend a lot of time touring,” says Quinn. But

now, “With the technology out there like MySpace, Twitter, and

YouTube you can do it all from Edmonton.”

Jenesse agrees with Quinn’s assessment that people are less

dependent on record labels than ever before. “My opinion is that

fewer people are signing with the big record labels, and there

are more groups of musicians forming their own label or working

out there by themselves.” Brittany nods, adding, “Still though,

if a record label came knocking, I don’t think a lot of people are

going to say no.”

Jenesse mentions Bandcamp, a site for musicians to distribute

their music with no middle man to eat up the funds. She says

this is how she would like to release Sister Gray’s next album.

On Bandcamp, there’s an option to let your fans pay how much

they feel the music is worth.“Sometimes you make more money

than you would with an album or iTunes,” Jenesse says.

While there are many opportunities in bigger centres, the benefits

don’t always outweigh the sacrifices. “A lot of people think you

have to move to Toronto because the music scene is bigger, and

it is, but there’s also more competition,” Quinn says. She has

also noticed that because Edmonton is smaller, there’s a greater

sense of community among musicians. A lot of cross-promotion

happens between bands in Edmonton: “I’m always going out to

someone’s show,” Quinn says.

Networking is important in moving forward in the music scene.

The sisters say that speaking with promoters is important if

you want to move forward. Brittany says that the key is to be

nice. “I’ve heard that other people have had problems with a

promoter and I’m surprised because they have always been

nice to me.” Jenesse adds that sometimes, “Some of the people

the promoters have to deal with are difficult.” A key element to

success is to be professional, and play nice with those who can

help you.

It takes passion and perseverance to be successful as a musician

in Edmonton. But a whole community of people is out there that

wants you to succeed and there are organizations to help foster

the tradition of great music coming out of Edmonton.

N OW

SURVIVING AS A MUSICIAN IN EDMONTON

STORY: DANIELLE PARADIS

Sister Grey

Carol-Lynne Quinn

12 13

When I was younger, some friends kindly gave my family

their old piano. It was huge, dark brown, sat in the corner of the

living room, and had a few keys that played two notes at the same

time. Because of this free piano, regardless of its condition, my

parents were able to put me into piano lessons where I learned

chords, scales, flats and sharps.

While I fully realize how lucky I was to have been introduced to

music at a young age, I’ve never fully recognized the value in

the gift of the piano and in the lessons themselves until now. If I

was never given that piano, I would never have learned all about

the bass and treble clef, and my appreciation for music may not

be what it is today.

I was lucky with this free piano. But for many children, a piano

and lessons are not an option. When money is tight, musical in-

struments and music lessons take a back seat to rent, food and

winter boots. This is where Keyboards for Kids comes into play.

When money is tight, musical instruments and music lessons take a back seat to rent, food and winter boots.This is where Keyboards for Kids comes into play.

The Keyboards for Kids program has taught hundreds of children

in Edmonton the art of playing the piano, for free. Keyboards for

Kids is run out of Mother Teresa Elementary School and is part

of the Edmonton Inner City Children’s Program (EICCP), a not-

for-profit organization that provides recreational and educational

activities for children within Edmonton’s inner city.

For almost 35 years Pat Frehlich has been teaching piano

lessons out of her studio in Sherwood Park. Back in 1999,

Frehlich was approached by Doris Weiss, the program

coordinator of EICCP at the time, and was asked how she felt

about starting up a free program in which children were able to

learn the piano by a credible teacher from the Alberta Registered

Music Teacher Association.

“Needless to say the idea of it interested me,” Frehlich says,

“but, the first plan was to see if there was an interest in it.”

After sending out letters to parents at the school regarding the

program, Frehlich was shocked at the response. “To my delight and

surprise, about 30 children said they were interested,” she exclaims.

In the beginning things were a little difficult, as there were only a

few volunteers and no pianos for the children to learn on.

“We had nothing,” Frehlich says. “No instruments, no keyboards.

We made cardboard keyboards with just pictures of keys on

them.” (Suddenly my old dark piano with dual key tones seems

like a majestic grand piano.)

With help from the Alberta Music Education Foundation, the

EICCP, and donations from the community, Keyboards for

Kids was given music to learn and keyboards for the children

to take home and practice on. They have partnered up with

AWA R N E S S

Keyboards For

STORY: SARAH KMIECHPHOTO: NICOLE ASHLEY

Pat Frehlich

Conservatory Canada, which gives students the opportunity to

take their piano exams for free. There are even scholarships for

students from the Keyboards for Kids program available from the

Alberta Music Education Foundation for children to carry on for

one year with private lessons.

Keyboards for Kids has approximately 26 participants this

school year, taught by five volunteer piano teachers. Lessons

are available for children in grades three to six, and are held

once a week during the school lunch hour. Without such great

cooperation from Mother Teresa School, the program would not

be as successful as it is, Frehlich acknowledges.

The popularity of Keyboards for Kids has grown around the

province, with one program in Calgary and two in Red Deer.

Frehlich hopes to see it continue to expand to more locations

and grow beyond what it is today.

“If I could dream the dream, I would have enough volunteers

to teach into high school,” she says. “That’s really substantial,

because you can have that for the rest of your life.”

That big old piano in my parents’ living room is now gone, but

as Frehlich says, the appreciation I have for it, and for music, will

stick with me forever.

If you are interested in volunteering for Keyboards for Kids,

contact the Alberta Music Education Foundation at info@amef.

ca. Schools who want to participate in Keyboards for Kids can

also contact the AMEF. Students at Mother Teresa can register

within the school.

Kids GIVES THE GIFT OF MUSIC

N E T WO R K S

Graling emphasizes the importance of using social

networking as a point of connection with fans, and

not just a way to disseminate information. “You’ll see

some people that have so many people ‘like’ them on

Facebook, but you’ll go to a show and it won’t be the

same kind of turnout,” she says. “But what we try to do,

is when we see someone write on our wall or something

like that, we try to interact with them as well. We try to

actually connect with that person.”

And that’s where the crucial link between social and

traditional networking comes in. Despite the fact that he

is not a musician himself, Brown realizes the importance

of live interaction to selling a band. “As important as

Facebook and Twitter are, to try and build your audience

you still need to talk to people face-to-face,” he says.

“If you’re putting yourself out there, talking to people,

I think that still is more effective than mass spamming

people with events. Not to downplay the importance of

[social media], but it’s still important to do both, social

networking and networking in person.”

Graling adds that it’s important to use social media as

a complement to traditional networking, and not as the

primary means of getting your message out.“The nice

thing about Facebook now is you don’t have to hand out

handbills face-to-face for your show as much,” she says.

“You can actually promote your show on Facebook,

then at your show you can talk to people and you can

network.They’re both still important. You still have to go

out there and you have to network and meet people, but

it’s almost a little bit easier to keep up with them if they’re

your friend on Facebook.”

Social media can make it easier to keep track of bands

you’re interested in. But it can also be overwhelming—it

makes clear exactly how much music is out there, as

opposed to the days when word of mouth, websites

and traditional media were the only ways of finding

independent musicians.

As social networking tools become more and more prevalent, it’s easy to wonder if good old-fashioned face-to-face networking has fallen by the wayside. But for unsigned bands trying to gain a following in a large centre like Edmonton, becoming network-savvy in both real and virtual life is a definite asset.

The advent of social media has created a very different

world for self-marketing musicians. “With something like

Facebook or Twitter, you can instantly check out a band,

see what they’re about, watch videos of them, listen to

music, check out their blog, things like that,” says Brown.

“Facebook shows the diversity that’s out there in the

Edmonton scene, from hip hop to alternative to rock.”

Brown says he started the Facebook group a couple

of years ago to help a friend’s band find resources like

venues and promoters. Although the group remains an

important resource for many musicians and fans involved

in the Edmonton scene, Brown says he doesn’t need to

put as much work into the group as he once did.

“I used to send out mass messages every Thursday, of

show and event listings, but I’ve cut that back,” Brown

says. “I was doing that at a time before people fully started

to embrace Facebook for promoting themselves. Now,

every band can have their own fan page, and they create

their own events, making the message that I was sending

out a bit redundant. I do still send out mass messages

if there’s someone putting on an event and they need

bands, or if someone is looking for a musician.”

The ubiquity of Facebook puts it at risk of becoming stale,

making other avenues of social media essential for catching

and holding the attention of music fans. For example,

Graling says she has started incorporating video blogs. “I

think they’re such a great way to communicate, and such

a great way to connect. Sometimes written words can

be taken in different ways, but if you’re physically saying

something to someone it can only be really taken one way.”

Social Media For Musicians

Kristen Wagner

Nathan Brown is the creator of the Edmonton Music

Scene Facebook group, which now boasts almost 2000

members. He says a Facebook and Twitter presence is

crucial to establishing a fan base. “It’s very vital for fan

interaction. If people have questions about shows you can

have it set up so you can respond right away,” he says.

“It’s very vital for the future of bands and the indie scene.”

Jenesse Graling, singer for the local indie band Sister

Gray, agrees. “Social media is one of the number one

things you can do as a band these days to promote

yourself and connect with your fans.”

She says her band uses social media to maintain a

relationship with their fans. “I take it really seriously,”

Graling says. “I’m always the one backstage at our

shows, taking pictures and putting them up on Twitter,

and keeping people updated.”

Brown sees podcasts as the up-and-coming resource for

networking-savvy musicians. “They seem to be becoming

more and more common,” he says. “JamUnion Podcast is

really focused on the Edmonton music scene.”

However, the increased exposure that social media can

bring to a band sometimes comes at a cost. “I was

watching a bunch of Garbage and Cranberries videos

on YouTube, and I was thinking, no one got that inside

look of them on the road,” Graling reflects. “That was a

bit of the appeal, the mystery. You never really got a big

glimpse into Shirley Manson, and she was kinda sexy for it.

So sometimes you lose some of the mystique.”

“Even in the last year or two [social media] has really

changed the way artists are seen. It’s a lot more

personal now.”

Nonetheless, social media is here to stay, and as it

evolves it introduces new tools and opportunities for

musicians to share their art with the world. “It’s the way

things are going,” Graling says. “And I definitely want to

be a part of it.”

“Social media is one of the number one things you can do as a band these days to promote yourself and connect with your fans.”

Join the Edmonton Music Scene

Designed to celebrate the music scene that is in Edmonton,

this is a place dedicated to local music and the promotion

of bands in the Edmonton area. If you know a band, are in

a band, or just love music feel free to post upcoming shows

and introduce bands around Edmonton.

www.edmontonmusic.ca/musicians

1514

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When two local musicians set out across the country on a

co-headlining tour in support of their solo acts, there was no

intention of birthing a new partnership.

Rather, the coming together of this five-piece folk-rock ensemble

happened as a “big accident,” according to guitarist Cody Nouta.

Matt Landry and the Dryland Band came into creation when

vocalist and guitarist Matt Landry stumbled upon djembe player

Alain Arseneau at Boonstock.

“I heard him playing, so I ran over and just started jamming with

him and basically, it started then,” says Landry.

Landry and Arseneau then paired up with Nouta to share their

individual talents with Canada. Since then, two more members

have joined on, strengthening the group and adding to its

diversity and complexity.

“[Matt] brought a djembe player around, Alain Arseneau,

who played djembe with the both of us and we went across

the country and started learning each other’s songs and just

became a lot better friends,” says Nouta. “By the end of it, we

were pretty much just playing one set as a three piece.”

The tour took the trio to Ontario and Quebec, where they played

a few gigs together, with the addition of Alain’s brother, Sylvain

Arseneau, who Nouta describes as an “amazing sax player.”

In fact, Sylvain was so amazing he was urged to quit his job,

move back to Alberta and become a permanent member of

the band. Rounding out the group is classical violin player John

Calverley, who has experience performing with the Strathcona

String Quartet and the Edmonton Symphony Orchestra.

M U S I C

THE DRYLAND BAND

“ A REFRESHING AND UNIQUE SOUND ”

17

STORY: MEGAN SARRAZINPHOTO: DANIEL WOOD

16

18 19

“I didn’t plan on having a full band. I was just thinking of doing a solo

thing and it just so happens that these guys are great musicians,

great guys, so, no point in kicking them out,” laughs Landry.

For almost two years, the experienced members have been hard

at work establishing a sound that naturally sets the band apart

from anything they have done previously as well as anything else

in the local music scene.

With the diversity of instruments—from the typical acoustic guitar

to a more classical blend of violin and alto saxophone to the

unique addition of the djembe, an African hand drum—it is no

surprise that the description of “folk rock with a hint of blues and

a little bit of country” doesn’t always cut it.

Each member is accustomed to playing different genres. Between

the five members, there is experience playing folk, hard rock,

metal, blues, punk, orchestral and jazz.

With the unique blend of instruments, Landry’s distinctive vocals

and the evident chemistry between members, it is no surprise

that many preconceptions tend to fall by the wayside once you

press play.

“We kind of went out of our way to steer clear of everything we’ve

done in the past,” says Nouta, who has played in bands like The

Casanova Playboys and Cody Nouta’s Funeral as well as with

chart toppers like the Kings of Leon and Matthew Good. “We’re

totally different than everything you would expect,” he adds.

Landry, who is largely known for his previous role as the longtime

frontman of local rock group Tupelo Honey, seems to sway from a

harder rock sound to a softer, more expressive vibe—something

that’s second nature for him.

“It’s what I’ve been doing since before Tupelo Honey and it’s what

I want to be doing,” says Landry. “It’s a completely different style.

It’s a completely different feel. It’s very relaxed, not so business-

oriented. It’s just where I want to be. I’m just very, very happy and

content here,” he says.

Many would imagine a band that incorporates violin, saxophone

and djembe to be a quieter experience. This may prove to be true

in most cases, but don’t let that fool you—this band still knows how

to rock.

“If you come see us live, we’re not a bunch of saps singing some

love songs. It’s pretty intense,” says Nouta. “It’s not drum, bass

and guitar and some guy screaming into a microphone. It’s really

easy to listen to.”

MANY WOULD IMAGINE A BAND THAT INCORPORATES VIOLIN, SAXOPHONE AND DJEMBE TO BE A QUIETER EXPERIENCE. BUT DON’T LET THAT FOOL YOU—THIS BAND STILL KNOWS HOW TO ROCK.

Although Matt Landry and the Dryland Band has been in the

studio preparing for its debut album to drop, the band isn’t

doing too much else, as the members want to stay focused on

the task at hand.

“We’re trying to keep a little bit of a low profile because we are

writing and recording and trying to get all this stuff put together,

so we’re trying to focus on the creativity part of it,” explains Nouta.

Although this may come at the disappointment of fans and

consumers, the wait will surely be worth it when the expected

album comes out in the fall.

In efforts to ease some of the anticipation and to feed hungry

fans, the band has uploaded two of its ballad-type tracks to its

MySpace page. But the ballads aren’t necessary representative

of all the band does. “We’ve got some jammy songs too, some

upbeat, danceable songs,” Landry says.

Nouta remains tight-lipped as to whether or not any more

songs will be uploaded prior to the release hitting shelves, but

he assures fans that new material will be played at upcoming

shows, including the band’s second annual performance at

the Boonstock Music Festival in Gibbons, AB on July 2. A few

smaller gigs are booked across the country, but unfortunately,

nothing else has been scheduled in Edmonton as of yet.

For a band just finishing its second year together, Matt Landry

and The Dryland Band has done fairly well for itself.

The band hasn’t had a particularly dominant presence in the

music scene in Edmonton yet, but it has been steadily gaining

fans and attention.

“We’re doing very well for the length of time we’ve been around

and the amount of shows—we really haven’t done too, too

much, but we’ve gained a lot of notoriety in the city,” says Nouta.

Both Landry and Nouta agree that much of this attention comes

from the original qualities that the band brings to the table,

ultimately producing a refreshing and unique sound sure to

please the senses.

Alain ArseneauSylvain ArseneauCody Nouta John Calverley

Matt Landry

20 21

W ith a polished, full-bodied and charismatic sound,

Yes Nice stands out in a sea of emerging indie bands.

But it’s not just the music that makes Yes Nice

unique; the band members have relationships with each other

that go beyond professional or artistic, and the familiarity shows.

All-instrumentalist Jillian McKellar says it best: “We have the family

dynamic: brother, sister, husband, wife.There’s something special

that goes on when we are all together.”

Jillian married lead vocalist Scott McKellar in August 2010. The

two had known each other for a number of years, as Jillian’s older

brother, Nathaniel Wong, another lead vocalist, met Scott over

ten years ago at a youth group. “I had always been the little sister

who had a crush on the rock star best friend,” says Jillian, smiling

at Scott.

The McKellars and I sit on a set of mismatched couches in Jax

Bean Stop Coffee & Bistro in the north end of Edmonton. Hooka

smoke hangs in the air and the sound of chatter surrounds us as

we talk about the band’s past achievements, present projects and

future aspirations.

Between a latte, a London fog and a mango smoothie sits

Nathaniel—with the help of an iPhone he joins our conversation

from Vancouver, where he is currently completing an art degree

at Simon Fraser University. Nathaniel describes Yes Nice’s sound

as having a “polyphonic, very layered approach to filling out a

simple song structure. We like to go to town on arranging a

simple song for a big sound. We try to emulate orchestral or

symphonic qualities.”

Singer/guitarist Darren Frank and drummer Peter Hendrickson

aren’t able to attend the meeting, but Nathaniel describes them

as “totally rad dudes.” Peter, who plays for other local musicians,

including Colleen Brown, jumped at the opportunity to play

drums for Yes Nice. “It was an instant, instant click,” remarks

Scott. Darren pursues solo projects when not playing with the

band. Jillian says the five members have a “very comfortable

vibe” together.

The band released their third album, Blindfolded, in 2009,

following two self-titled releases. Blindfolded appeared only a year

after Scott and Nathaniel punched out their very first CD. “We just

sat down one week and decided to write one song every single

day until we had an album,” says Scott. “It helped show us what

we could do.”

A second release, a self-titled EP, followed soon after. It contains

five songs and a number of interludes. “We wanted something

that showcased the music that we were performing,” says Jillian.

Blindfolded has been acclaimed by critics, and has received

considerable alternative radio play in Vancouver, where the band

lived at the time. But the band admits the album was completed

before any of them truly understood the business behind the art.

“We really didn’t know the business side of things,” says Scott. “We

made an album and said, well we’re done, now what do we do?”

They sent the album out to various radio stations, one of them

being Vancouver’s The Peak. The producers at The Peak liked the

album so much, that they encouraged the band to apply for the

station’s 2010 Peak Performance Project.

Jillian describes the Peak Performance Project as “pretty intensive.”

Yes Nice was one of 20 bands to be accepted into the program.

Over several months, all the bands involved went through a

boot camp of sorts, participating in challenges, performing in the

Vancouver area, facing adjudications and learning how to make

it as a band in today’s music industry. The project also taught the

band business sense, marketing and how to use social networks.

Jillian says the whole process was an eye-opener, and has helped

the band to navigate their way through the industry.

But she is confident that the band has become a lot more

business-savvy as a result. “Three years ago, we were working

on the substance of the band. After The Peak Performance

Project, it was all about establishing a foundation for a career.”

“YES NICE’S UNIQUE SOUND AND BUSINESS SENSE WILL SURELY TAKE THEM TO THE NEXT LEVEL.”

From the tabletop, Nathaniel elaborates on how the knowledge

they gained is invaluable. “There are two different ways that

bands are forming these days. One is that they’re really good

and they get recognized on their artistic merit. And then there

are other bands that work really hard, and they don’t necessarily

have to be that good. They’re good business people, and artistic

merit comes in a distant second.” Yes Nice’s unique sound and

business sense will surely take them to the next level.

With the help of FluidArt, a Vancouver artist management

company, the band has expanded their social networking and

are learning how to promote themselves on the web. They also

recently completed a music video for the song “Horses” from the

Blindfolded album. Filmed by Emily Carr University students in Lynn

Canyon, B.C., the video is a testament to the band’s playful spirit.

A second music video is for a song called “We’ll Call it Home,”

which will appear on the band’s new album, is set to be released

online this spring. Nathaniel jokes that the video was finished

before the song was. “It’s kind of a funny process, shooting a

music video and then writing a song for it.”

The band is currently planning their summer schedule. They hope

to play the festival circuit, and are currently coordinating shows

with promoters. In the mean time, they’re focusing on writing

and recording for their new album, which will hopefully be out by

June. Scott and Nathaniel recently embarked on another intensive

week of songwriting. Scott said that some of the songs that were

conceived during that time will be included on the next album.

The new album will show the band’s evolution while retaining

the distinctive Yes Nice sound. “Our new demos sound quite

different,” Scott says. “We are exploring.” The band’s stringed

harmonies and layers of sound will remain in the new album,

but certain elements may be added. Scott mentions the

possibility of synthesizers.

“Music can have a predictability to it, and it’s really nice to the ear,”

adds Jillian. “But also it takes a further element of unpredictability

that is unexpected, and is comfortable but uncomfortable at the

same time.”

Yes Nice On The Rise

-Lindsay Holman

YES NICE Left to Right:

Peter Hendrickson,

Nathaniel Wong,

Jillian Mckellar.

Scott Mckellar,

Darren FrankSTORY: LINDSAY HOLMAN

22 23

ODDBALL PRODUCTIONSSTORY: KRISTEN WAGNER

You’re in a band and you’ve just spent your life savings recording

a CD. Your music is great, but you have no idea how to let people

know about you, or how to recoup the money you’ve invested.

This is where Oddball Productions comes in.

Oddball is a combination independent record label and consulting

company. It enables musicians to take their careers into their own

hands by giving them the tools they need to manoeuvre within the

music industry.

“It is called the music ‘business,’ the music ‘industry,’ and

unfortunately there’s always been that divide,” says Danny

Fournier, Oddball’s marketing and development manager. “There’s

a portion of it that’s the music, and that’s the artist, and there’s a

portion of it that’s business. And an artist that can combine those

two can create so much more for themselves and have so much

more control over what they’re doing, and I think that can really

build a strong career.”

Oddball’s consulting service works with independent bands to

help them reach the next level in their career, whether that’s

a deal with a major record label, or the ability to play music

full-time in local clubs. Oddball also runs a series of “Rockstar

101” workshops, which focus on a variety of subjects, including

marketing and setting goals.

Learning these skills gives artists a greater chance for survival in

an industry that is increasingly do-it-yourself. “The music industry

has changed so much. Record labels still have their place, and

they still do a lot for artists, but not as much as they used to,”

Fournier says. “There’s so much potential for an independent artist

to actually create their own career, to create their own business.

But they have to know how to do that, and I think that’s where

the disconnect is. A lot of musicians don’t know anything about

accounting, about financing, about marketing, about promotion.”

Fournier has a unique perspective on music marketing. He has

worked for both BMG Music and Proctor and Gamble, and he

noticed marketing ties between the two companies despite the

disparity in their products. “I’ve taken a lot of stuff I learned when

[Proctor and Gamble was] launching a product and applied it to

a band when they’re releasing a CD,” Fournier says. “And when

I was with BMG I saw the same thing. Whenever we had a CD

release for a major artist, I saw them doing the exact same stuff

as I saw in my short time with Proctor and Gamble.”

“In the end a CD is a product, and that’s a big part of what I try to

get across to the artist.”

Understanding the mechanics of the music industry helps people

on all levels of the music industry, from major label executives to

fans. Oddball helps to make musicians more business-savvy and

easier for talent buyers to work with, thereby fostering a more

cohesive music community.

The goodwill between artists and venues is also instrumental in

strengthening Edmonton’s music community as a whole. The

music community may not be as large as Vancouver or Toronto,

but Fournier says Edmonton has a lot to offer artists. “We have

such a strong community,” he says. “It’s just a matter of finding it,

and it’s a matter of using it, and a matter of working with it, and at

the same time contributing back to it.”

Recently, Oddball hosted the first annual Edmonton Music Awards,

an event that Fournier calls a “huge catalyst” for uniting the local

music community. “The main goal [of the EMAs] was to bring

attention to the artists of Edmonton,” he says. “I got introduced

to artists that I never even knew existed in the city, and the same

could be said for some of the artists.”

The EMAs, held over two nights at Haven Social Club, were

completely sold out. Next year’s awards will be held at Myer

Horowitz Theatre in order to accommodate more music fans.

With such a large turnout, the EMAs presented a great

opportunity for musicians to network, and word of mouth is a

huge part of marketing. Having fans who will direct other potential

fans towards your music is a huge asset for an independent

band. “When you think about the music you listen to, chances

are it wasn’t that artist who sent you an email saying, ‘Hey, check

out my group on MySpace,’” Fournier says. He stresses the

advantages of having  “taste-makers”-- fans who are champions

of your music, who will spread the word about you, and talk about

you with their friends.

As a particularly educated “taste-maker” for Edmonton, Fournier

has a few favourite bands of his own.

“Jezibelle is a band I’ve been working with for a long time. They’re

one of my favourites just because I’ve watched them grow, and

I’ve watched them take the right steps and build their business

properly,” he says. “It’s four girls playing metal music, and that’s

already a rarity.”

Mars and Venus is another of Fournier’s recommendations.

“They’re probably one of the hardest working local bands,”

Fournier says. “These guys will do whatever it takes to get

something done.”

Shelbi and Heaviside are two more young bands with a lot

of potential. “They’re not trying to be anything, other than

straight-ahead rock bands,” Fournier says. “They’re fun, they’re

energetic, there’s so much passion in both of those bands—I

think there’s going to be so much potential for them in the next

couple of years.”

BEST ALBUMChristian Hansen & The Autistics – SwansFire Next Time – Wild Rose SorrowHot Panda – How Come I’m DeadJeff Morris – Original Songs On A Borrowed GuitarWool On Wolves – Grey Matter

BEST SINGLEJeff Morris – Blue Sky FallsJezibelle – Public DisplayMichelle Molineux – Just Say GoMockteerah –The Long Kiss Good NightThe Weekend Kids – Twenty Something

BEST SOLO ARTIST (TIE)Al BrantCara AlboDouglas MitchellFendercaseJeff MorrisKy Babyn

BEST GROUPChristian Hansen & The AutisticsMass ChoirThe Provincial ArchiveThe Wheat PoolWool On Wolves

BEST FEMALE ARTISTAnn VriendCara AlboColleen BrownDani JeanKayla Patrick

BEST LIVE PERFORMANCE*Acronycal @ The Starlite RoomCara Albo @ Lyve On WhyteDRT @ The Banger At The HangerFire Next Time @ The WunderbarJeff Morris @ Axis CafeJezibelle @ The Taphouse (Alberta’s Last Band Standing)One Way State @ The Pawn ShopRadio For Help @ The Pawn ShopThe Red Threat @ The Avenue TheatreWhite Lightning @ On The Rocks

PEOPLE’S CHOICE*Al BrantCara AlboDRTJeff MorrisJezibelleKayla PatrickKemo TreatsKy BabynMichelle MolineuxThe Red ThreatBEST POP/HIP HOP/DANCE ARTISTCara AlboChristen Hansen & The AutisticsFendercaseKemo TreatsMichelle Molineux

BEST COUNTRY ARTISTAl BrantCorb LundHey RomeoKayla PatrickThe Wheat Pool

BEST ROOTS/FOLK Eamon McGrathFire Next TimeJeff MorrisKy Babyn The Provincial ArchiveWool On Wolves

BEST METAL/HARD ROCK ARTISTDRTHollywood AssassynJezibelleMockteerahOne Soul Thrust

BEST MUSIC VIDEOMockteerah – The Long Kiss GoodnightMy Sister Ocean – Please Don’t Say It’s SoRadio For Help – It’s Not Me, It’s YouSkidoo 32 – Robb AngusThe Weekend Kids – Twenty Something

ARTIST TO WATCH (TIE)*All Else FailsDemon RepublicErica ViegasHeavisideLisa Nicole GraceMars & VenusMarylandMicelliRed Shag CarpetThe Flash JamThe Frolics

* Winners

24 25

NOMINTIONS & WINNERS

26 27

A typical week’s work spans sporting events, large rock shows,

fundraisers and high-end political events. In 1995, Beckett

started Angel Audio to get away from having to rent equipment

he was using as a sound technician. Since then, the company

has grown and Beckett only gets busier. Axe is a full service

rental company that can provide all the staff, equipment, and

production needs for any occasion, including back-line rentals

for touring bands and creative development for shows.

As the events happen constantly, equipment is always on the

move. Showing off the indoor loading docks, Beckett jokes that

Axe is partly a moving company. “When you’re loading vans

in -40, not only are the staff freezing, but it blows a cold wind

though the entire place. You don’t see this in many buildings but

it’s a great benefit.” The company is always busy, regardless of

the season. Even during the recession work didn’t drop off for

the company, he notes. The shows must go on.

Beckett doesn’t spend a lot of time reminiscing about past

events and shows. The company has furnished equipment for a

lot of memorable names—big bands like AC/DC and the Rolling

Stones, as well as well-known figures like former U.S. President

Bill Clinton—but for Beckett it is the event itself that is important.

On the Axe website is a time-lapse video of Rexall Place being

prepared for a rock concert. Viewers can watch every step,

from the floor being covered to the audience coming in, and the

process is fascinating. “There are a lot of details,” he points out,

“and because each event is unique we have a lot of meetings

to make sure everything runs smoothly.” In the week we spoke,

Axe had twelve major shows booked over the following six days.

There is no room for error, and all pieces of equipment are kept

well-maintained and inventoried.

Beckett has a lot of experience working behind the scenes of

the entertainment industry. On one wall of his office, Beckett

has a gold record from the band Wide Mouth Mason as well

as a large poster from their tour of China, for which he was the

tour manager. When he first began working with the band, they

had just broken out with a hit single. Beckett worked with them

for the next ten years, including a two and a half week tour

of China. Every show the band played in China sold out, and

Beckett says the experience was incredible. “They’re just so

fascinated by Western culture there and we were treated so well

everywhere we went.”

Still, Beckett says he doesn’t miss touring or even sound mixing.

“I did it for a long time, and I’m enjoying the new challenges,” he

says, gesturing at his desk. “There is so much to do here that I

don’t have time to miss it.”

Beckett isn’t star-struck by the high-profile personalities his

company furnishes. “It isn’t that glamorous meeting the stars

when you and they are all there to do the job,” he says.

The huge range of events, from the Mayor’s State of the

City Address to the My Chemical Romance concert at the

Edmonton Events Centre keeps Beckett and his team on their

toes. Every year, Axe also handles the needs of YC Alberta, a

youth conference which brings 16,000 teens into Northlands

Coliseum, which is the venue’s second largest event, smaller

only than Capital Ex.

Around the office is evidence of Axe’s charitable connections.

Pictures of sports teams, Food Bank donation bins, and posters

for cancer research head shaves are displayed. Beckett is most

proud of the pictures of children connected to Compassion

Canada, a charity the company supports. Kelly Kimo, owner and

vice president of Axe, says they look forward to covering the

entire wall with pictures of kids they have sponsored.

Both men beam with obvious pride as they discuss giving back

to the community on both a local and international level. Yet

there is still humility to the notion as Beckett points out that

community giving is something that every company should be

involved in. Axe frequently sponsors community events as well,

and will donate a part of their costs in order to be associated

with causes they support. Beckett has worked hard to ensure

the company is doing well, and enjoys that their success means

they can give back to community as a whole.

Jon Beckett...

Axe Productions STORY: DEVON BRYCEPHOTO: DANIEL WOOD

Thirty years ago, Jon Beckett started his career as a sound engineer. Today, he is the owner and operator of Axe Productions, a live event production company with a staff of 16. Axe specializes in large-scale events, but the scope of the shows is what makes them stand out.

28 29

After almost calling a Dutch phone number, I realized that

there are two bands with the name Long Way Down.

One is a band from the Netherlands that emphasizes its

punk sound.The other is an Edmonton rock-core band that writes

original tunes. Guess which one I was supposed to talk to?

“Just for the record, we have been around longer and had the

name since 2001,” laughs lead singer Jakk Grady. “It’s funny

though; our band has somewhat of a coloured history, lots

of different members and scenarios, and like any band, we

considered a name change but we decided against it.”

“We were thinking about the name Pistols at 20 Paces, a

concept that doesn’t apply in the full sense,” Grady continues.

“It’s more of a diluted idea. When you are working on different

levels with different people and the rigmarole of it all, sometimes

you are at your wits end. It’s a figurative reference to what we

have gone through so many times.”

Being around for ten years will do that to a band. But, as Grandy

shows me, it’s good to have a sense of humour about it all. This

time around, Long Way Down is focusing their efforts on a three-

song EP.

“We can focus more on the songs with a smaller release,”

says Grandy. “When you narrow the focus on a few songs,

as opposed to a collection, you can spend more time paying

attention to the details. Sure, there are financial reasons too,

but we thought we would focus on the ones we liked the most.

These three were the first ones out of the batch of 20 or more

that we looked at over the months. We are still in the recording

phase of it all, but we want to get these done, get them out

there and see what happens.”

“Right now we are in a sort of an off-season,” Grandy adds.

“It’s the Canadian artist template to record when it’s cold and

irritable, and get out when it’s safer to drive. Now we’ve toured

in the winter as well, but we are in a bit of hibernation mode

when it comes to touring.”

“EVERY YOUNG BAND ENCOUNTERS DIFFICULTIES ON THE WAY TO THE TOP. BUT IT’S HOW YOU DEAL WITH IT THAT SHOWS YOUR METTLE.”

And toured they have. It is the great Canadian hazing ritual that

every band worth anything has gone though. Our geography

demands it. This isn’t the States where you can hit a major city

every night. In Hoserland, you need to drive hours, even days to

get to the next gig. It is a wild ride.

“The first time we went across Canada was an adventure,”

recalls Grandy. “Four of us in a ‘79 Ford Econoline with an

improperly packed trailer; we were virgins to the long haul. It

was wonderful, seeing the landscape and getting out there on

our own. I guess you could consider it a growth thing. There is

something to be said in your ability to be out playing music for

remuneration or for the passion of it. To be out on the road and

dealing with the break downs in a crazy territory where you feel

pretty humble about what you are trying to do. I can’t say from an

outside perspective because I’ve only ever toured Canada, but

those overnighters can keep you on your toes but you keep on

trekking though.”

And every band has their stories. From good to bad to funny to

sad, they are all relevant and timeless. From a bad experience

with Jagermeister at their CD release party to a bar reeking of

sewage in Saskatoon, Grandy and the band have seen their

share of mishaps. But often the mishaps turn into great shows

you never forget.

Every young band encounters difficulties on the way to the top.

But it’s how you deal with it that shows your mettle.

31

MM: YOU WEAR THREE DIFFERENT HATS: MUSICIAN,

PRODUCER AND MUSIC VIDEO DIRECTOR. DO YOU

PREFER ONE ROLE MORE THAN THE OTHER?

HD: Out of all the different hats I wear, I like producing the most

because it involves attempting to ensure a song has the most

impact as it possibly can. Many times an artist is already 95

per cent there with a song idea. I like to think that my role is to

help the artist get out of their own way sometimes, and try to

focus on what an audience would react to the most. Generally I

take notes when an artist plays a song for me the first time and

I refer back to those notes when we’re tracking; or if I’ve seen

the band play the song live, I try to remember the vibe they were

bringing and ensure they remember it too when performing it in

the studio.

MM: HOW DID YOU CROSS THE BRIDGE FROM

MUSICIAN TO PRODUCER AND DIRECTOR?

HD: Early on I started recording with a bandmate (Kevin Kossowan)

and learned really quickly that some of the most gratifying

moments as a musician are during the recording and writing

process, so it wasn’t a really big leap since I was doing it as part

of my learning since I started.

Becoming a director came later, and it took a while for technology

to get affordable enough to get great results with a low budget.

It’s really only in the last two to three years that I’ve felt like my

videos were on par with what I’m seeing elsewhere. It took

a lot of learning on the job and every video is a new learning

experience, but I finally feel like my tools can represent my vision

for things.

MM: WHY DO YOU CHOOSE TO WORK IN EDMONTON

AS OPPOSED TO A BIGGER METROPOLIS SUCH AS

TORONTO OR VANCOUVER?

HD: Whenever I hear people complain about Edmonton I get

very defensive. Many people here have a misguided inferiority

complex when comparing us to other cities. Edmonton easily

has the same amount of talent per capita as any other city in

my opinion, so I know I’m not missing anything by being here.

I think as my clientele expands to other cities I might just work

there while I’m needed, but my home base will likely always be

Edmonton. I feel like if I moved to Toronto I’d be paying twice

the rent for half the pay. Edmonton just makes sense for me

because if I moved anywhere else, I’d be starting from scratch.

Here I have a network that goes really deep and I think I could

work in town forever if I wanted to.

MM: WHO ARE YOUR BIGGEST MUSICAL AND PERSONAL

INFLUENCES?

HD: My all-time favourite album is Scenery & Fish by I Mother

Earth, and Tripping Daisy’s I Am An Elastic Firecracker is

something I’ve listened to way too much over the years. In

general, I’m into mainstream alternative rock, but as a producer

I try to listen to all pop, country, rock and folk so I can bring

different sensibilities to the table when necessary. I think all that

really shows with the last three projects I worked on—for Becki

Pawliw I needed to call up all the light rock and folk stuff, for

Jezibelle I needed to bring out the metal/punk sensibilities, and

for Mockteerah I needed to ensure we had a good AC/DC or

even Seether/Three Days Grace vibe.

MM: IS DIRECTING MUSIC VIDEOS A COMPETITIVE

BUSINESS?

HD: Directing music videos is probably as competitive as any

other business. You try to find clients that like you enough to

hire you instead of somebody else. You also try to ensure that

the work you’re doing now contributes to getting hired again in

the future, either by the same artist or by someone who liked it

and wants you for their project. As far as I know, most Canadian

bands are relying on grant money or donations to fund their

bigger budget videos. I’ve never been approved for a bigger

budget, so I always do things on a shoestring, which I think is

the case for most everyone I know nowadays.

MM: AT WHAT STAGE IN A MUSICIAN’S CAREER SHOULD

THEY DECIDE TO MAKE A VIDEO?

HD: I had a few people tell me that a band needs to wait until

they’re charting at radio to do a video. I always thought that a

popular video would drive radio play. There’s no right answer but

the one thing I try to stick with is that a good video is a great tool

for bands at any time in their career, but it shouldn’t be relied

upon as the only strategy to building the artist’s “brand.” Also, a

poorly executed video can be detrimental to the artist’s career.

So it’s not right to say that every artist needs a video just for the

sake of having one. Ideally, the band will have an EP or full album

to support, a tour to support that, and a video as well. However,

in the YouTube era, artists can be made by video alone and

never need to rely on the old traditional way of doing things.

MM: IS A VIDEO’S PURPOSE PROMOTIONAL OR AN

EXPRESSION OF ART? AND HOW DO YOU MERGE THESE

TWO THINGS WITHOUT COMPROMISING THE SPIRIT OF

THE ARTIST’S MUSIC?

HD: I gotta say it’s been mostly promotional so far. The original

purpose of music videos (even before MTV existed) was to

showcase the artist—you saw what they looked like and heard

what they sounded like. There have definitely been some great

artistic videos over the years, and I love so many of them, but

in the end even the most artistic videos had an underlying goal

to promote the artist. With the videos I’ve done so far, the goal

has been to showcase the artist as much as possible, and use

visuals that represent the song in a thematically appropriate way.

There’s an art to the whole approach, but I can’t say I’ve done a

truly “artsy” video quite yet.

WITHOUT QUESTION,

HOLDEN DANIELS SURELY

IS ONE OF THE BUSIEST

MEN IN EDMONTON.

DANIELS NOT ONLY

PLAYS AND PERFORMS

ON THE GUITAR AND

BASS; HE IS ALSO A

PRODUCER, ENGINEER,

VIDEO DIRECTOR AND

SONGWRITER. HE HAS

RECEIVED NATIONAL

ATTENTION THROUGH

UNIQUE MARKETING

STRATEGIES AND IS

PROVING THAT YOU DON’T

HAVE TO LIVE IN TORONTO

OR VANCOUVER TO HAVE

SUCCESS IN THE MUSIC

INDUSTRY. THE AFFABLE

AND QUICK-WITTED

DANIELS SAT DOWN TO

DISCUSS HIS CAREER,

WHERE IT’S GOING AND

WHAT THE FUTURE HOLDS.

HOLDEN DANIELSMULTI-TALENTED MUSIC ENTREPRENEUR WEARS MANY HATSSTORY: DAVE FALK

30

32 33

However, he admits that money needs to be spent on some

equipment to ensure a quality recording. “There are certain

things that you need to bite the bullet on,” he says. “You need

specific microphones. You need to buy good preamps to

run them through. But there are some microphones that are

fantastic that are quite inexpensive.”

“To make a good record you don’t need to spend a ton of

money,” he says; but on the other hand, “you can spend tens

and tens and tens of thousands of dollars setting up a modest

project studio and still make bad records with it.”

In addition to keeping costs low, Paholek says the other key to

staying in business is readily accepting the musical visions of

clients. “A good policy to adopt is to never say no to people,”

he says. “I think one of the reasons I do so well here and I stay

in business is because I try not to sell people on what they don’t

necessarily want, just because I think it might be better for them.”

But Paholek does have ideas that are worth incorporating. He

places a lot of emphasis on good drum sound, and has a few

tricks to ensure a fuller percussive sound.

“A lot of people use augmentation—they drop in extra samples

for the drum sounds. I try not to use that at all, or I try to use it

sparingly. Some records call for it, like heavy metal—it’s granted that

you’re going to sample the kick, that’s just how you get that sound.”

“I use a lot of room sounds. That’s a huge part of my drum

recording. The room pretty much makes up almost half the kit,”

he says. “I’m pretty good at making really big-sounding drums,

so I’ve got a lot of drummers who really love working here.”

In addition to the drum setup and homemade amp, The Physics

Lab boasts a Sony DMX-R100 digital console. Rather than the

more common industry software Pro Tools, Paholek uses a

smaller, open-sourced editing program called Reverb, which he

prefers because it is faster and more efficient than Pro Tools.

Although The Physics Lab has only been in operation for a few

years, Paholek has already amassed a network of local and

international clients. One band from Calgary, Chy Shuga, has

been particularly helpful in boosting Paholek’s career.

The band came to Paholek to record an EP just as they were on

the brink of disbanding. Nevertheless, Paholek was impressed

with them and finished mixing the CD as a keepsake. But the

band rebounded, and on the strength of Paholek’s recording

they gained extensive airplay on the Calgary radio station CJAY

92, climbing to the #2 spot on their top ten countdown. They

also garnered a production deal with Sylvia Massy at RadioStar

Studios in California. Massy has previously worked with such

well-known artists as System Of A Down, the Smashing Pumpkins

and Tool.

When the band went to California, they took Paholek with them.

He had the opportunity to watch and mentor with the engineering

team and be involved with the record, “and after that is when I

probably started making my best records,” he says.

But his innovative approach has also helped recording artists

here in Edmonton to make the record they want, without having

to accommodate anyone else’s vision. One vocalist wanted to

layer ten or fifteen vocal tracks on her recording, a difficult feat to

manage. “So when she asked me to do this, I straightaway said

yeah, sure,” Paholek says. “And I guess I was the first person

to actually let her do this. She had run this idea by a bunch of

people, and everyone else said, ‘This is not going to work,’ or

‘This is not how it’s done.’ So as a result I’m doing all of her

records, and it was just so simple as that one thing.”

Regardless of the approach an engineer takes to a project, or

the amount of money that goes into it, it all comes down to the

product. Paholek does no advertising other than word of mouth,

yet he is currently booking six months in advance for studio

time—a fact that can’t be ascribed solely to his low rates. “You’re

not going to get any work if people don’t like what you’re doing,”

he says. “It doesn’t matter how cheap you are.”

“AND IF SOMEBODY WANTS TO SMASH ALL THE CUPS IN MY KITCHEN TO RECORD A SOUND, I LET THEM.”

Financial gain is certainly no reason to get into music production.

“If you want to start a studio to make money, don’t,” Paholek

warns. “It’s taken me so long to do this full time, it’s ridiculous.

And the competition is really fierce.”

He says anyone considering a career in the field should be

passionate about it, but also very patient. “If you don’t think you

can listen to the same song literally hundreds and hundreds of

times, and then multiply that by ten songs on a full-length record,

and then scrutinize it every time you listen to it, and think about

how to make it better, you don’t want to do something like this.”

“In some aspects it’s very rewarding, but extremely time-

consuming and sometimes boring job.”

There’s also the inevitable cleanup that comes with working with

creative people. “If someone wants to break something in the

studio and they’re willing to pay for it, I really don’t care. I can’t

remember the last time I actually told someone, ‘You can’t do that.’”

“And if somebody wants to smash all the cups in my kitchen to

record a sound, I let them.”

The industrial area of Edmonton’s west end seems an unlikely destination for aspiring

musicians, but Terry Paholek’s recording studio, The Physics Lab, is making it the place

to be. The modest and unassuming studio, situated in a bay with a garage door, features

surprisingly good acoustics, homemade coffee and its own recording arts guru.

Paholek, the owner and sole operator of The Physics Lab, has been interested in recording and

production since his teens. He got his start recording on tape recorders, and honed his skill

mentoring and interning with engineers in a number of different studios. He supplemented his

income by playing in a cover band, and it is only in the last few years that he has reached a point

where it is financially possible for him to record and produce full time.

The cost of setting up your own studio makes it tempting to overcharge musicians for recording

services, but Paholek works at keeping his own overhead costs down, passing the savings on to

clients. He owns the bay in which his studio is located, eliminating the concern of rising rent prices.

And while recording gear can be expensive, there are ways to cut the cost.

“The gear selection is really important. I own quite a few high-end pieces,” he says. “I also own a lot

of pieces that most people probably wouldn’t expect to see in a normal recording studio.”

He points out a hand-wired amp from the 1970s. “It looks like absolute hell, but sounds fantastic,”

he says. “Everyone that’s come in has used it on a record in some capacity. It’s just a bunch of

spare parts thrown together. It’s the best amp I own.”

SOUNDS OF SUCCESS STORY: KRISTEN WAGNERPHOTO: LARISSA MACK

34 35

R E V I E W

STORY: LINDSAY HOLMAN

The aroma of coffee beans blends nicely with the humid scent

of exotic flora at the Culina Muttart. The newest addition to the

Culina family of restaurants has partnered up with the Muttart

Conservatory to create an oasis in the midst of Edmonton’s

bustling downtown area.

Culina Muttart may have one of the freshest and healthiest

menus in Edmonton. “I don’t think anywhere else in the city has

such a direct line to fresh food,” says manager Maureen Metz.

Located within the Muttart Conservatory, the restaurant has the

unique opportunity to grow some of its greens within the famous

greenhouses. Arugula, herbs and experimental greens will be

continuously grown upon hydroponic beds, and are just some of

the freshly grown items that will be served on a daily basis.

Culina Muttart’s location not only adds to the quality of the food,

but to the visitor’s overall experience. Metz feels that not enough

Edmontonians take advantage of the Conservatory, and says

her hope is that customers will see the gardens and eat at the

restaurant in the same visit, because after all, “Where else in

the city can you go for lunch and then take a tour through the

different climates of the world?”

“I don’t think anywhere else in the city has such a direct line to fresh food.”Metz moved to Edmonton a year and a half ago and began

working with Culina soon after. When given the opportunity to

manage the new location, she didn’t hesitate. “I have an overall

passion for growing food,” she says. “When I got the opportunity

that involved working and growing food, and being involved

in providing fresh food to the customers I’m serving, I guess I

really went for it.” Her passion for gardening has also led her

to volunteer at a community garden located on the University

of Alberta’s South Campus. She says that a lot of the food

that isn’t grown right in the Conservatory will come from the

University garden.

Culina strives not only for quality food, but also for the continued

support of local businesses. Carrying local goods creates a

distinctive atmosphere in the restaurant, and also helps to boost

the local economy. Metz emphasizes that teaming up with local

suppliers is part of what makes the Culina experience special.

“A lot of it is about creating relationships within the city with the

suppliers,” she says. “It’s pretty amazing to have the owner of

Mighty Trio [a local organics business] come and eat, and then

have somebody who is sitting next to him eating a salad with a

dressing that was made from his oil, and to say, ‘Oh, you like the

salad? Well, this guy over here helped to make it.’”

Fresh

Culina Muttart opened its doors in December 2010. It is the

fourth addition to the Culina family, owned by Brad Lazarenko,

Director and Executive Chef. While all Culina locations share the

same ideals about food, each one comes with its own flavour.

Culina Highlands’ Eastern European feel, Culina Mill Creek’s

Westernized selection, and Bibo’s café-like atmosphere all

provide a pleasurable dining experience. “As far as quality goes,

we are all striving for the same,” says Metz. Culina Muttart,

serving a variety of sandwiches, soups and other healthy items,

could be described as an “express” version of its predecessors.

Culina Muttart is open:

MONDAY TO FRIDAY

10:00 AM to 5:00 PM

SATURDAYS AND SUNDAYS

11:00 AM to 5:00 PM

36 37

R E V I E W S

3. CEILI’S IRISH PUB //Ceili’s Irish Pub: Come for the beer, stay for the craic. What is

craic? I’ll let Ceili’s general manager Grant Sanderson explain it

to you.

“Craic is an Irish word for ‘a feeling of atmosphere,’ explains

Sanderson. “And that is what we like to have. You are going to

see lots of large groups of people especially on Saturdays; it’s

a big night. Birthdays, stags, stagettes, fundraisers…. and it’s

a good crowd. We aren’t a pub club, we are an actual pub. We

don’t scan IDs and there aren’t any stab-proof vests—that isn’t

what we are.”

Much of Ceili’s success comes from repeat customers, and

the pub gives patrons plenty of reasons to make a return

visit. “There are a lot of reasons why people keep coming

back,” Sanderson says. “Great food, great service and a great

live entertainment package. We always have music and are

constantly doing some version of battle of the bands. Be it

acoustic, or student bands or what-have-you. We have live

comedy on Wednesday and every Friday and Saturday we have

a live acoustic set pre-DJ. It’s a nice way to start the weekend.”

“My favorite is our Canada Day Rockfest. From 11 a.m. to 2

a.m. we have live bands. Five to six bands for the whole day and

this year we are trying to move it into a portion of our parking lot.

Everything from local bands to student bands and of course a lot

of them have a really strong East Coast flare. It’s a great time.”

With live entertainment, an outdoor patio and big-screen TV, the

craic is all its cracked up to be, and more!

1. ON THE ROCKS //“It’s a place where you can relax and be who you really are,”

says Rachelle “Roach” Sandy, representative for On the Rocks

restaurant and bar. “Our clientele are 25 to 55 in age. That says

it right there. It is comfortable for every age range. Not too young

that you can’t have a conversation with the table beside you but

not too old that the kids can’t come in and let go.”

That in a nutshell is On the Rocks. Winner of Vue Weekly’s

Golden Fork award and self-proclaimed proprietor of the best

wings in downtown Edmonton, On the Rocks is as well-rounded

an establishment as you can get. From food to music to a

friendly atmosphere, it seems to have it all.

In regards to the décor, “I’m an old Sidetrackian,“ laughs Sandy,

referencing the now defunct Sidetrack Café. “Brick and comfy

chairs, it’s the same kind of atmosphere. We don’t have the

fireplace that the Sidetrack used to have but we are close.”

The sheer quantity of live music that On the Rocks offers also

makes it unique. “There are not a lot of us left who are doing

live music on a consistent basis,” Sandy says. “Fridays and

Saturdays we have premier A-league of cover bands. A rotation

of 12 to 13 tried, tested and truly great cover bands. But we

do a lot of stuff. We have folk and reggae and then we throw

in something crazy like Wide Mouth Mason or Jay Sparrow or

Tupelo Honey, you never know.”

On the Rocks has everything a loyal patron can hope for: staff

who want to be there, a clientele that likes to have fun, and a

management system that cares about making their business the

best it can be for their customers. They aren’t looking for the

next big thing; they are looking to be consistent.

“Our staff like having a good time as well,” Sandy says. “They

already have the right personality—that is why they are here.

And also, you have to try to give the public what they want—we

are like a comfy old shoe. We aren’t those high heeled shoes

that leave your feet bleeding.”

The menu also reflects the TLC that goes into every aspect

of On the Rocks. They offer a monthly wing flavor, dessert and

salad, and change the menu once or twice a year. “Everything

is home made,” Sandy says. “We keep things exciting without

having to change everything.”

And On the Rock’s formula garners results in the form of patrons

who line up to enter the establishment on weekends. “Our average

Saturday night is ridiculously high energy, a bazillion smiles,”

continues Sandy. “It also gets around 104 degrees. It’s a fun-loving

heat when we are jam packed. Everyone has a smile on their face.”

2. BLUES ON WHYTE //There are three constant truths in Edmonton. The sun will rise,

the sun will set, and Blues On Whyte will be open late.

“I’ve been working here since 1981,” says Mike Purcell, general

manager of Blues On Whyte. “The Commercial Hotel has been

around forever though. They are basically the same thing. I feel

like I’ve been booking bands here forever. I get to book what

I like—I’m lucky that way. It’s mostly blues but every once in

a while there can be some reggae and rock. I’ve seen a lot of

greats come through here and seen a lot of them pass away.

That is one of the best things and worst things about having

been open for so long.”

And the patronage is as consistent as the music. Offering

something for everyone, Blues has seen its fair share of people

come through the door.

“Our dance floor is always packed,” Purcell explains. “It is a very

eclectic crowd. If you don’t like who you are sitting with, move

over two tables. You will be with a whole different group talking

about completely different things. From 18 to 80 and that’s all

right. We’ve been serving the kids of kids of grandparents here.”

Blues On Whyte is a mainstay in the Edmonton nightlife scene.

Everyone knows about it and can tell you a story involving it.

Purcell believes Blues’ timeless popularity is due to the live

music. “Seven nights a week really brings people together,” he

says. “They appreciate eclectic crowds and dancing. We are

playing music that has been around for decades. Beatles were

blues, The Rolling Stones were blues. It’s branched out. No

matter what you think about music, everyone has enjoyed the

blues during at least one point in their lives.”

1 2 3MERGE REVIEWS: LIVE MUSIC VENUES

WE EXPLORED EDMONTON’S LIVE MUSIC SCENE ACROSS FIVE GENRES AND FOUND SOME OF THE

BEST VENUES IN TOWN.

DO YOU KNOW OF A BUSINESS OR ESTABLISHMENT THAT

DESERVES A REVIEW? LET US KNOW ON FACEBOOK/MERGEMAGCA.REVIEW: TRENT WILKIE

38 39

4. JEFFREY’S CAFÉ AND WINE BAR //Jeff Kolbuc, owner of Jeffrey’s Café and Wine Bar, is a very busy

man and this isn’t a surprise. After talking to a few patrons about

his establishment, they were convinced that he must not sleep

because of the high level of care that the place is under.

“We cater to all types of customers,” Kolbuc says. “On any given

day you will have a group of moms and their babies, an elderly

couple, some Edmonton Oilers grabbing a coffee on their way to

practice, or some businessmen having a few drinks after work.

Our clientele is a huge variety.”

“The food is always fresh,” continues Kolbuc. “The customer

service is always top notch. The staff is always friendly and the

cafe is always clean. We have good management which allows

this all to be consistent. Another consistency is our standard

menu which we keep to pretty closely, with the exception of our

daily sandwich special. That is always awesome.”

And as anyone can tell you, if a place knows its food and wine, it

must also know its music. And Jeffrey’s humbly does.

“Our Saturday nights we are generally full, as it only takes about

40-50 to pack the place,” Kolbuc says. “The crowd is upbeat

and the music is the best that you will hear in this city... very

vibrant and alive. We have 80 per cent jazz, but also have a bit

of Latin, blues, and country on occasion.”

On Thursday nights you might find a singer/songwriter, or an

indie band. “My favorite is probably Jack Semple, a guitar

master from Saskatchewan,” Kolbuc says. “Our most popular

artist is Canadian music legend Alfie Zappacosta who plays

every few months. He sells out almost immediately. Semple will

be here in May and to see this phenomenal blues guitarist right

in front of you, in an intimate setting is unbeatable.”

5. RED PIANO //For me, the idea of dueling pianos brings to mind a wild western

scene where cowboys tickle the ivories in a life-or-death,

whiskey-fueled battle. But there are many differences between

my vision and the Red Piano Dueling Piano Bar and Bistro.

“We also have probably the nicest rooms in the city,” says

manager Mo Blayways.”We have a certain sophistication and are

little bit more upscale. That is what people have come to expect

from us. We have a classy product they can’t get anywhere else.

We are happy to see that people have proven to us that if you

build a really nice room and staff it with great people they will

come and support you.”

The Red Piano’s uniqueness has been a major factor in its

success. “Nobody is doing what we are,” Blayways explains.

“We’ve taken what some other people have tried to do, with

dueling pianos and made it work. It doesn’t exist anywhere else

in Alberta, if not North America. Typically, dueling piano bars are

in a pub environment, but we’ve built our stage in the middle of

the room and added a technically advanced light show. We put

focus on that. We are also a full service restaurant. A lot of other

places are a one stop shot, or only offer one thing. We have an

upscale casual menu and great entertainment.”

“We definitely evolve our show; we stay pretty contemporary as

we are a request-based business,” says Blayways.”Our players

put emphasis with today’s top forty and keep up with what

people may want. We don’t get repetitious; our nights can be

completely different from one night to then next. We have eight

different players who play for us on a full time basis. They switch

during the night and there at times when they go four of a time

taking a piece. Every night is different and that makes it exciting

to go into work every day.”

4 5

40

EDMONTON’S OWN UTOPIADale Plourde says he got the idea for Edmonton’s newest sum-

mer music festival about 15 years ago.

“I was travelling with my band and we played a festival in

northern B.C.,” Plourde recalls. “There were some young girls

skipping across a field, and they said, ‘Wow, isn’t this awe-

some? Don’t you wish every day could be like this?’ And so

that really resonated with me, and stayed with me for a long

time.”

From that idyllic image, the idea for the Utopia Music Festival

was born. The inaugural Festival will run June 17 and 18 in

Hawrelak Park’s Heritage Amphitheatre. The lineup will feature

a diverse array of local talent, including roots/reggae band

Souljah Fyah, DJ D3VIANT, and 2009 Bounce Showdown

winner Justin Blais. Edmonton’s own will be complemented

by several renowned national and international acts, including

David Usher, Lights and Ani DiFranco.

UTOPIA 2011 SCHEDULE

FRIDAY, JUNE 17: FEATURE CONCERTUtopia opens @ 5:00 PM

(general admission, front row seats on a first come basis)

Headline Concert - ANI DIFRANCO -

with special Guest JANET PANIC

SATURDAY, JUNE 18Utopia opens @ 1:00 PM

(general admission, front row seats on a first come basis)

WESTERN CANADA SHOWCASE All day music 1:00 PM – 5:00 PM

JUSTIN BLAIS

MARK SHEPPARD

MATTHEW LINDHOLM

BOY & GURL

DJ’s : D3VIANT & TIANNA J.

SOULJAH FYAH

SATURDAY HEADLINE CONCERTS (immediately following the showcase, 5:00 PM)

5:00 PM: SUZIE MCNEIL

6:00 PM: DAVID USHER

7:00 PM: LIGHTS

with special guest RICH AUCOIN

OTHER ATTRACTIONSBig Rock Beer Garden( quality beer, cider, wine and coolers)

Gourmet food vendors; flavors from all over the world

Roving entertainers (jugglers dancers, street performers)

Kids Zone (fun fantasy area for kids)

Utopia Market tent ; where you can buy artist merchandise,

unique gifts, music and art)

4,000 of the happiest people in Edmonton

“like” us on facebook to receive a free Priority wristband; which

gets you in the best concert seats and express line into the beer

garden www./facebook.com/utopiamusicfestival

Festival closes @ 10:30 PM

David Usher

42 43

Sounds Of SpringSTORY: PAULA E. KIRMAN

Spring brings with it feelings of refreshment and vibrancy. As the

dull whites and grays of winter melt away, new life comes forth

with green foliage, blue skies, and sometimes, a rainbow.

Colours of the season can also be represented in music.

Edmonton’s renowned Kokopelli Choir Association will paint a

landscape with their voices at the Colours of Spring concert.

Colours of Spring takes place Saturday May 14 at 2 p.m.

(featuring Kokopelli and its apprentice choir, Shumayela) and 7

p.m. (featuring its young adult choir Òran and children’s choir

Kikimasu) at McDougall United Church.

“The repertoire for our spring concerts is always a varied

program of music of many styles and periods that are studied

throughout the year,” says Scott Leithead, conductor and

founder of the Kokopelli Choir. “Our choirs perform in many

provincial and national festivals in the spring and much of this

music will be performed at our year end concerts.”

The Kokopelli Choir Association is a group of choirs made up of

young people of different ages and musical experience. Leithead

founded the youth choir in 1996 after leaving his teaching

position at Victoria School of the Arts. Since then, the choirs

have expanded in number from one to four, and from around 45

members to now around 180.

“I have conducted numerous choirs over the years including

provincial and state honour choirs in seven provinces and one

state,” says Leithead. “My interests in choral music started when

I was completing my undergraduate degree in music at Wilfrid

Laurier University. Since that time I have been fortunate to have

travelled the world working with outstanding choral educators

and professional musicians.”

Leithead has many reasons for enjoying his work with Kokopelli.

“I have an amazing team of people in these choirs—from the

talented and hard working staff to the creative and inspired

choristers to the energetic team of volunteers, we are very

lucky to have grown and developed with many outstanding

performance opportunities over the years. It is a joy to make

wonderful music and develop strong community and team

goals throughout each season. We strive for diversity in our

programming and musical skills development and this always

keeps things fresh and interesting,” he says.

“Our goal is to bring the audience into the performance as much

as possible, and we do this using many different means like

movement, instrumentation, and different standing formations,”

says Leithead.

“We have singers introduce pieces as often as possible to help

the audience get to know the many amazing singers we are

privileged to have on stage. Kokopelli also stands for a supportive,

non-competitive environment for nurturing young singers, and

it’s an important aspect of our concerts that our choirs listen to

and enjoy each other as much as possible, and that our younger

groups have the opportunity to be mentored and inspired by their

older counterparts.”

Colours of Spring is not the only major Kokopelli event on the

horizon. “We also have a more informal encore concert on May

29 at 4 p.m., at Sacred Heart Church featuring our two older

ensembles, Kokopelli and Òran,” says Leithead. “We also have

our major fundraiser in June, our Sing-a-Thon for African Projects,

which consists of 24 continuous hours of live local music at the

Bogani Cafe in south Edmonton. All funds donated directly

support our organization’s African Projects Fund, which helps

out our sister choirs in southern Africa and supports our ongoing

chorister exchange program with them.”

Tickets for Colours of Spring are available at Tix on the Square

or through any Kokopelli Choir Association chorister or parent.

FESTIVAL SHOWCASES THE VERSATILITY OF JAZZSTORY: TERESA FISHER

Trumpets and trombones aren’t the only things that will serenade

you at Edmonton’s International Jazz Festival. Funky beats, sultry

vocals and big band dance music are just some of the treats that

will be offered up in various venues across the city during the ten-

day festival that runs this year from June 24-July 3.

Edmonton International Jazz Festival showcases talent from

local, provincial, national, and international up-and-coming

artists as well as celebrated acts. As the festival’s tagline

declares, “There is a Jazz for Everyone.”

“The goal of the Festival is to allow people to hear jazz the way

that it’s meant to be heard,” says festival promoter Liz Lepper.

This means that there is going to be a lot more to take in than

just your traditional blues. Cool jazz, bebop, Dixie land, funk/

groove and swing are just a small sample of what can be heard

when you venture out to explore what jazz has to offer.

Headlining this year’s festival are Madeleine Peyroux, as well as

the Jazz at the Lincoln Centre Orchestra featuring trumpeter

Wynton Marsalis. Peyroux is a songstress who is well-known

to her fans for her mellow musical stylings, influenced by

jazz heavyweights like Billie Holiday, Bessie Smith and Louis

Armstrong. She is best known for her 2005 release Careless Love,

which brings her personal and vulnerable take to popular artists

such as Leonard Cohen and Bob Dylan. Peyroux is performing on

June 26 at the Winspear Centre.

Jazz at Lincoln Center Orchestra with Wynton Marsalis features

Marsalis, a nine-time Grammy award winner who has more

than thirty recordings under his belt. He is also the artistic

director of the Jazz at Lincoln Center Orchestra, which features

fifteen jazz soloists and ensemble players. The Orchestra

performs in New York, as well as across the US and around

the world, and they play a variety of original compositions as

well as the masterworks of Duke Ellington, Charles Mingus and

John Coltrane. Jazz at Lincoln Center Orchestra performs in

Edmonton on June 28 at the Winspear Centre. Tickets to both

shows can be purchased at the Winspear box office.

Lepper says that there will also be surprises to tantalize jazz

fans. “We are planning some extra treats for those attending the

festival, but in order to find out what those treats are, you’ll just

have to attend the festival,” she says.

However, Lepper does reveal that the Festival is offering a limited

number of Johnny Jazz pass for $99. The Johnny Jazz pass

allows jazz fans to enjoy the whole festival, excluding headlining

acts, for only $9 a day. The Festival is also offering free concerts

in Churchill Square weekdays from noon to 2 p.m., in partnership

with the concurrent Works Art and Design Festival. Bringing local,

national, and international artists and music lovers together; the

folks at the Edmonton International Jazz Festival guarantee to

deliver a jazz for everyone.

By attending the Festival you are not only listening to musical

delights but you are also helping to support the Jazzworks

education outreach programs which benefit from the festival as

well as support the jazz tradition in Edmonton. So why not show

your support for the arts in Edmonton and indulge in the smooth

sounds of jazz that are sure to delight your senses?

44

For the fourth straight year, Rock the Square will

complement the Festival City’s selection of great summer

music. The free, day-long event at Churchill Square will

showcase nine local bands from an eclectic mix of genres.

The event will be headlined by top Canadian blues-man,

Marshall Lawrence. In addition to performances from more

established home-grown talent, Rock the Square will also

feature some of the city’s most talented unknown musicians

found through the Edmonton Undiscovered competition.

Co-founder and organizer, Arek Kozikowski is thrilled as the

festival continues to grow in popularity and quality. “Over the

years we were able to gather valuable experience in organizing

an event of this magnitude,” Kozikowski says. “We’ve met great

musicians and people from the industry.  Above all, we have

presented the greatest bands that Edmonton has to offer.”

The idea for Rock the Square was conceived in 2005 when

school teachers Daniel Jancewicz and Alexander Gillis formed

a Saturday School of Rock at St. Basil School. Their students

quickly learned how to play guitar through the instruction of

Kozikowski. Soon after, with the help of supportive parents,

three bands were created.

In 2008, two of the bands performed at Churchill Square on a

summer afternoon in front of onlookers and passers-by. “It was

a great success,” said Kozikowski, “and we decided to try it

again on a bigger scale.” In 2009 Rock the Square was officially

born with nine bands and an endorsement from Mayor Stephen

Mandel, who voiced his support through a pre-festival speech.

The response and attendance over the past few years has

exceeded expectations, and in 2010 over 5000 people attended

the event, with 90 musicians performing.

While the music plays this year, the beer gardens will be flowing,

food vendors will fill Churchill Square and there will be plenty of

fun activities for all ages. According to Kozikowski, the word is

definitely getting out. “In 2010, we were able to attract some

great bands again and rocked the square,” he says. “This year,

I have received applications from 20 bands on the first day the

festival was advertised. If that’s the way it goes, we will consider

extending it to two-day event to accommodate more bands.”

The event is open to any non-profit organization that would like

to be a part of Rock the Square.

The participation of non-profits give the festival a tangible

purpose, beyond the music—last year, with the participation

of OneMatch, concert-goers received bone marrow donor

information for those in need. The focus is obviously the music,

yet it is these opportunities that establish a unifying atmosphere

at Rock the Square. The festival retains its grassroots tradition,

and is able to give more than music back to the city.

“WE’VE MET GREAT MUSICIANS AND PEOPLE FROM THE INDUSTRY. ABOVE ALL, WE HAVE PRESENTED THE GREATEST BANDS THAT EDMONTON HAS TO OFFER.”

Rock the Square takes place June 18 in Churchill Square from

noon until 10 p.m. A new band will take the stage each and

every hour. The “Doctor of the Blues,” Marshall Lawrence plays

a 9 p.m. to 10 p.m. set to finish off the festival in style. Visit

http://www.RockTheSquare.com for more information regarding

band applications, sponsor opportunities and other ways to get

involved. Any non-profit organization looking to participate in the

festival is asked to contact rts2011@telus.net for details.ROCK THE SQUARE TAKES THE STAGE FOR THE FOURTH YEAR

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E V E N T S

BUSINESS

EDMONTON REAL ESTATE FORUM May 3, 2011 // 8:00 AM

Shaw Conference Centre

Informational event focusing on real estate

strategies for 2011.

CHAMBER OF COMMERCE SPRING 2011 AFTER BUSINESS MIXER

May 4, 2011 // 5:00 - 7:00 PM

Balwin Villa

Networking event for small businesses

Edmonton Chamber of Commerce.

GROWTH BY DIVERSIFICATION BREAKFAST

May 6, 2011 // 7:30 - 9:00 AM

Westin Hotel

Economic diversification in Alberta, in

depth talk with Peter Lougheed.

SOCIAL

TWEET THE ARTS MEETUP

May 5, 2011 // 7:00 PM

The ARTery

Networking event for Edmonton’s arts

scene Tweeters.

OLD STRATHCONA FARMERS’ MARKET

May 7, 14, 21, 28, 2011 // 8:30 AM - 3 PM

10310 - 83rd Ave.

Weekly market featuring local produce,

meat, crafts, etc.

CANADIAN OFF-ROAD EXPO

May 8 - 9, 2011 // 10:00 AM

Northlands

Unique booths and spectator shows.

MOTHERS’ DAY MAGIC

May 8 - 9, 2011 // 12:00AM - 4:00 PM

Valley Zoo

Valley Zoo becomes a relaxing spa for

any mother to enjoy.

PEKING ACROBATS WITH THE ESO

May 9 -10, 2011 // 7:30 PM

Winspear Centre

Chinese acrobats perform, accompanied

by the orchestra.

AGA ART ON THE BLOCK

May 12, 2011 // 7:00 PM

Art Gallery of Alberta

Art Sale, proceeds going to the gallery.

EDMONTON STORY SLAM

May 19, 2011 // 7:30 PM

Haven Social Club

Opportunity to present a short story

to an audience.

UKRAINIAN CULTURAL HERITAGE VILLAGE CELEBRATION OF DANCE

May 23, 2011 // 10:00 AM - 5:00 PM

Ukrainian Cultural Heritage Village

Dance display, sheep shearing, exhibits

and children’s activites.

RAINMAKER RODEO AND EXHIBITION

May 27 - 29, 2011

Exhibition Grounds, St. Albert

Annual Rodeo and Exhibition Rodeo. .

ROYAL BISON ART AND CRAFT FAIR

May 28 - 29, 2011 // 10:00 AM - 5:00 PM

8426 Gateway Blvd.

Local art and craft sale.

FUNRAISER

YESS GREAT EXPECTATIONS

May 4, 2011

Delta Edmonton South

Fundraiser for Youth Emergency Shelter

Society.

EPL BOOKS2EAT GALA

May 14, 2011 // 7:30 PM -11 PM

Lois Hole Library

Local chefs showcase their talents

through edible book creations.

ENERFLEX MS WALK

May 15, 2011 // 10:00 AM

Churchill Square

Fundraiser for Multiple Sclerosis Society.

YESS HOMELESS FOR A NIGHT

May 27, 2011 // 6:00 PM - 7:00 AM

Telus Field

Fundraiser for Youth Emergency Shelter

Society.

ZAAC PICK WITH CHANDA COOPER

May 29, 2011 // 7:00 PM

Knox Evangelical Free Church

Raise Funds for restoration the Knox

Church, West coast folk sensation performs.

WIN FORE WIN WOMEN’S GOLF TOURNAMENT

May 30, 2011 // 8:00 AM

Lewis Estates Golf Course

Fundraising event for Win House

women’s shelter.

SPORTS

EDMONTON KEYANO INTERNATIONAL SWIM MEET

May 5 - 8, 2011

Kinsmen Sport Centre

Swim Meet

EDMONTON SPORT AND SOCIAL CLUB INDOOR VOLLEYBALL TOURNAMENT

May 14, 2011 // 9:00 AM - 5:00 PM

U of A and West Edmonton Christian

Assembly

Recreational volleyball tournament

OIL CITY ROLLER DERBY ALL-STARS VS. THE RED DEER BELLADONNAS

May 14, 2011 // 7:00 PM

Oil City Grindhouse

GET PUBLISHING 2011:AT THE EDGE OF PRINT

May 6 & 7, 2011

Robbins Health Learning Centre

Writers', Editors' and Publishers'

annual conference.

BOSSY MAMA ANNUAL SPRING BRUNCH

May 15, 2011 // 9:30 AM - 2:30 PM

Delta Edmonton South

Networking and social event for female

entrepreneurs.

IAABD ANNUAL CONFERENCE: CHALLENGES IN THE ERA OF GLOBALIZATION

May 17- 20, 2011 // 4:00 PM

Robbins Health Learning Centre

International Academy of African Busi-

ness and Development.

2011 MAYOR'S AWARDS

May 25, 2011 // 7:00 - 8:00 PM

City Room, City Hall

Mayor's Awards presentation and

celebrations.

ROLLER DERBY BOUT EDMONTON ENERGY VS. BELLINGHAM SLAM

May 20, 2011 // 7:30 PM

U of A Main Gym

Professional Basketball Game

EDMONTON ENERGY VS. BELLINGHAM SLAM

May 21, 2011 // 1:00 PM

U of A Main Gym

Professional Basketball Game

SUBWAY CORONATION TRIATHLON

May 29, 2011 // 10:00 AM

Hemingway Pool, Groat Road, Mackin-

non Ravine

27th annual Triathlon

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8 9 10 11 12 13 14

15 16 17 18 19 20 21

22 23 24 25 26 27 28

29 30 31

MAY // 2011

BU S I N E S S

S O C I A L

F U N D R A I S E R

S P O R T S

HAVE AN AWESOME

UPCOMING EVENT, LET US

KNOW. WE’LL PUBLISH IT IN

PRINTAND IN THE MERGE

ONLINE CALENDAR. FOR

MORE INFORMATION ON

THE FOLLOWING EVENTS

GO TO THE ONLINE

CALENDAR AT:

WWW.MERGEMAG.CA